Roozi ke zan shodam (The Day I Became a Woman) Reviews

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Time Out
January 26, 2006
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Glenn Lovell
San Jose Mercury News
April 14, 2005
| Original Score: 3.5/4
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Atlanta Journal-Constitution
February 21, 2004
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Eric Harrison
Houston Chronicle
May 11, 2001
A hauntingly simple, profound and beautiful movie.
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Stephen Holden
New York Times
April 16, 2001
What appears on the screen has a starkness that is almost indelible.
Full Review | Original Score: 4.5/5
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Owen Gleiberman
Entertainment Weekly
April 13, 2001
Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal 'meaning.'
Full Review | Original Score: A-
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Kirk Honeycutt
Hollywood Reporter
April 9, 2001
This film catapults Meshkini into the 'Someone to Watch' category.
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Michael O'Sullivan
Washington Post
April 6, 2001
Short on drama but long on poetry.
Full Review | Original Score: 4/5
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Rita Kempley
Washington Post
April 6, 2001
An episodic drama rich in sly humor and symbolic imagery.
Full Review | Original Score: 4/5
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John Zebrowski
Seattle Times
April 6, 2001
Through Meshkini's lens, their stories are sad, funny, cathartic and beautiful.
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Edward Guthmann
San Francisco Chronicle
April 6, 2001
Each of [Meshkini's] stories has the timeless quality of a fable, and each has wisdom and a quiet, stoic sense of defiance in the face of patriarchal tradition.
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John Anderson
Newsday
April 6, 2001
Exhilarating.
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Jonathan Foreman
New York Post
April 6, 2001
Slight but affecting.
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Kevin Thomas
Los Angeles Times
April 6, 2001
Beautiful and poignant.
Full Review | Original Score: 4.5/5
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Susan Stark
Detroit News
April 6, 2001
You leave not only engaged with the three main characters, but also wondering about their fate, hoping for the best.
Full Review | Original Score: 3/4
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Steven Rosen
Denver Post
April 6, 2001
It has only fitful power as a work of art and/or entertainment.
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Roger Ebert
Chicago Sun-Times
April 6, 2001
Still more evidence of how healthy and alive the Iranian cinema is, even in a society we think of as closed.
Full Review | Original Score: 3.5/4
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Jay Carr
Boston Globe
April 6, 2001
Its central image instantly leaps into the pantheon of world cinema with a rightness and an urgency that glue your eyes to the screen.
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Michael Atkinson
Mr. Showbiz
April 5, 2001
So breathtakingly textural, so empathic in its images, that it transcends its context and achieves timelessness.
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Desmond Ryan
Philadelphia Inquirer
April 5, 2001
In the uncluttered directness that distinguishes so many of the most memorable Iranian films, Meshkini's movie takes us into three lives at crucial junctures.
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John C. Davenport
Dallas Morning News
April 5, 2001
The images evolve from poignant to oblique, but the effort to express the theme of independence in different ways keeps the film from seeming heavy-handed.
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Tom Keogh
Film.com
April 5, 2001
Imbued with Makhmalbaf's surreal poignancy and soul-shaking ironies.
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Mark Caro
Chicago Tribune
April 5, 2001
[Meshkini's] filmmaking debut announces the arrival of an undeniable talent that has come of age.
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J. Hoberman
Village Voice
April 4, 2001
The sense of cosmic simultaneity [is] the most effective aspect of the film.
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Jonathan Rosenbaum
Chicago Reader
February 7, 2001
Full Review | Original Score: 3/4
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Deborah Young
Variety
February 7, 2001
Meshkini communicates a personal vision in terms all women (and certainly many men) can feel deeply.